Quotes About Aesthetics

If you can't make it good, at least make it look good.

If you can't make it good,at least make it look good.

I used to always say - and I think a lot of artists think of it this way - that when you see a black figure, the way the critical establishment operated, you can only imagine that figure having a sociological value. They never say the ways in which their aesthetics were equally worthy of consideration.

I would warn you that I do not attribute to nature either beauty or deformity, order or confusion. Only in relation to our imagination can things be called beautiful or ugly, well-ordered or confused.

Choose paintings, sculptures, realistic or abstract or animal images woven into fabrics, rather than a faux zebra rug or a sullied Lion's head on the wall.

Frank Lloyd Wright... his things were beautiful but not very functional.

I'm usually more concerned with how things sound than how they look on the page. Some people write for the page, and that's a whole other thing. I'm going for what it sounds like right away, so it may not even look good on the page.

Beautiful things spoil nothing.

Pellerin used to read every available book on aesthetics, in the hope of discovering the true theory of Beauty, for he was convinced that once he had found it he would be able to paint masterpieces.

You must not think that feeling is everything. Art is nothing without form.

En resumen, la primera injusticia ha sido practicada por la Literatura, que no se preocupa por la Estética, la cual no es más que una justicia superior.

Beauty is the object of all my efforts.

The most lovely moving picture actor, considered in the light of genuine aesthetic values, is no more than a piece of vulgarity; his like is to be found, not in the Uffizi gallery or among the harmonies of Brahms, but among the plush sofas, rococo clocks and hand-painted oil-paintings of a third-rate auction room.

What seems paradoxical about everything that is justly called beautiful is the fact that it appears

Adam Yates wore freshly ironed khakis and a bright pink shirt that might be the norm on Worth Avenue in Palm Beach but not Broad Street in Newark. He wore loafers without socks, his legs too casually crossed. He had that whole Old World, came-over-on-the-Mayflower thing going on, what with the receding ash-blond hair, the high cheekbones, the eyes so ice blue she wondered if he was wearing contacts. His cologne smelled like freshly cut grass. Loren liked it.

Female beauty gets to me. I don't think I'm alone in that. It gets to me like a work of art gets to me.

You might say that when you step inside, you're entering a honorific space, but that's something totally different than experiencing it. And in architecture the experience comes first. That has the deepest effect on us.

To me, beauty and makeup and color is like the finishing touch on everything.

Of course, I have given my engineers some headaches over the years, but they go with me. I have always wanted my buildings to be as light as possible, to touch the ground gently, to swoop and soar, and to surprise.

My ambition with 'Redoubtable' was to make a film that would be aesthetically pleasing, charming, and touching.

I am more interested in revolutionary beauty than in the great beauty, to be honest. Italian cinema is now mostly a bureau for tourism. We have given up that revolution of the contemporary.

Whether it's a photograph or a piece of clothing, a leather bag or a film, I tend to gravitate towards simple, beautifully made, quietly lovely things. They make me happy.

When I started studying architecture, people would say, you know, 'Can you tell me why are all modern buildings so boring?' Because, like, people had this idea that in the good old days, architecture had, like, ornament and little towers and spires and gargoyles, and today, it just becomes very practical.

I'm kind of the town pump. I think I have a pretty good ear for what sounds good in this style.